Several terms exist to describe manga aimed at an audience of adult women: Josei manga has been regularly adapted into anime since the 2000s. The category became stigmatized in the late 1980s as it came to be associated with pornographic manga, but gained greater artistic legitimacy in the 1990s as it shifted to social issue-focused stories. The emergence of josei manga was influenced by the rise of gekiga in the 1950s and 1960s, which sought to use manga to tell serious and grounded stories aimed at adult audiences, and by the development of more narratively complex shōjo manga by artists associated with the Year 24 Group in the 1970s.
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While josei dramas are in most cases realist stories about the lives of ordinary women, romance josei manga are typically soap opera-influenced melodramas, while pornographic josei manga shares many common traits with pornographic manga for a heterosexual male audience. Josei manga is traditionally printed in dedicated manga magazines which often specialize in a specific subgenre, typically drama, romance, or pornography. This distinction is further complicated by a third manga editorial category, young ladies ( ヤングレディース), which emerged in the late 1980s as an intermediate category between shōjo and josei. In practice, the distinction between shōjo and josei is often tenuous while the two were initially divergent categories, many manga works exhibit narrative and stylistic traits associated with both shōjo and josei manga. In a strict sense, josei refers to manga marketed to an audience of adult women, contrasting shōjo manga, which is marketed to an audience of girls and young adult women. "women's comics", pronounced ), also known as ladies' comics ( レディースコミック) and its abbreviation redikomi ( レディコミ, "lady-comi"), is an editorial category of Japanese comics that emerged in the 1980s.
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Andy Mangels edited issues #14 to #25 and a special issue featuring Barela Mangels changed the title to Gay Comics starting with issue #15, in part to divest it of the “underground” implications of “comix”.Įxcerpts from Gay Comix were included in a 1989 anthology titled Gay Comics.Cover illustration to the josei manga series Kōrei Shussan Don to Koi!! by Motoko Fujita, an autobiography chronicling the author's pregnancy at the age of 43. The first four issues were edited by Cruse issues #5 through #13 were edited by Triptow. Kitchen Sink Press published the first five issues of Gay Comix thereafter it was published by Bob Ross, publisher of the Bay Area Reporter gay newspaper. Lee Marrs and Trina Robbins, two of the original members of the Wimmen’s Comix Collective. Syndrome, Satyr, and the cover of issue #3 Robert Triptow, editor of issues #5 through 13īurton Clarke, creator of Cy Ross and the S.Q. Howard Cruse, editor of the first four issues
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Roberta Gregory, who created Dynamite Damsels (1976), the first lesbian underground serial comic book, and the character Bitchy Bitch Mary Wings, creator of the first one-off lesbian book Come Out Comix (1972) and Dyke Shorts (1976)Īlison Bechdel, who created Dykes to Watch Out For and whose graphic novel Fun Home was adapted into a Tony Award-winning Broadway musical
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All three editors made a deliberate effort to feature work by both women and men.Īrtists producing work for Gay Comix included It is generally less sexually explicit than the similarly-themed (and male-focused) Meatmen series of graphic novels. The contents of Gay Comix were generally about relationships, personal experiences, and humor, rather than sex. Gay Comix also served as a source for information about non-mainstream LGBT-themed comics and events. Autobiographical themes include falling in love, coming out, repression, and sex. Much of the early content was autobiographical, but more diverse themes were explored in later editions.
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Created by Howard Cruse, Gay Comix featured the work of primarily gay and lesbian cartoonists.
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Gay Comix (later spelled Gay Comics) is an underground comics series published from 1980–1998.